<![CDATA[Penelitian ini mengkaji kreativitas musik campursari oleh Grup Irama Manunggal dalam peribadatan Gereja Stasi Maria Assumpta, Bawen, Kabupaten Semarang, sebagai bentuk inkulturasi musik liturgi yang memadukan instrumen tradisional Jawa dan instrumen modern. Tujuan penelitian adalah (1) mendeskripsikan bentuk kreativitas aransemen liturgis yang dikembangkan grup, (2) menjelaskan dinamika penerimaan jemaat, serta (3) menganalisis keterpenuhan asas-asas bentuk estetis menurut DeWitt H. Parker. Penelitian menggunakan pendekatan kualitatif deskriptif dengan metode studi kasus. Data diperoleh melalui observasi partisipatif pada latihan dan peribadatan, wawancara mendalam semi-terstruktur terhadap 12 anggota grup, 2 pengurus gereja, dan 5 jemaat, serta dokumentasi (partitur, foto, dan video). Analisis data dilakukan secara interaktif melalui reduksi data, penyajian data, dan penarikan simpulan, disertai triangulasi sumber dan metode. Hasil penelitian menunjukkan: (a) transformasi praktik iringan dari format keroncong menuju ensambel campursari dilakukan sebagai respons atas kebutuhan musikal jemaat; (b) strategi aransemen dibedakan menurut bagian liturgi (pembukaan–ordinarium–persembahan–komuni–penutup) untuk menjaga kesesuaian suasana ibadah; (c) integrasi idiom campursari mendorong keterlibatan jemaat dalam bernyanyi tanpa mengganggu kekhidmatan, melalui pengendalian tempo, ornamentasi, dan dominasi instrumen. Pembahasan dengan teori Parker menunjukkan bahwa praktik musikal grup menampilkan kesatuan bentuk, tema dan variasinya, keseimbangan unsur tradisi–modern, perkembangan bentuk dalam konteks komunitas, serta tata jenjang peran instrumen dalam struktur musikal liturgi. Penelitian ini berimplikasi pada penguatan model inkulturasi musik liturgi berbasis budaya lokal yang tetap selaras dengan norma liturgis, serta membuka peluang kajian lanjutan berupa analisis musikal-notasional dan evaluasi dampak jangka panjang terhadap partisipasi umat.Campursari Creativity in Catholic Liturgy: A Parker Aesthetic AnalysisAbstractThis study investigates the creative use of campursari music by the Irama Manunggal Group in Catholic worship services at St. Maria Assumpta Station Church, Bawen (Semarang Regency, Indonesia), as a contemporary form of liturgical inculturation that combines Javanese musical idioms with modern instruments. The study aims to (1) describe the group's liturgical arrangement practices, (2) examine congregational reception and participation, and (3) assess how the musical practice fulfills DeWitt H. Parker's principles of aesthetic form. A descriptive, qualitative case study design was employed. Data were collected through participant observation during rehearsals and worship services, semi-structured in-depth interviews with 12 group members, 2 church administrators, and 5 congregants, and documentation (scores, photographs, and performance videos). Data were analyzed using an interactive model (data reduction, data display, and conclusion drawing), supported by source and method triangulation. The findings indicate that: (a) the ensemble evolved from a previous keroncong practice into a hybrid campursari format in response to the community's musical expectations; (b) arrangement strategies are differentiated across liturgical sections (opening, ordinary, offertory, communion, and closing) to preserve ritual appropriateness; and (c) congregational engagement is enhanced through controlled tempo, restrained ornamentation, and hierarchical instrumental roles that maintain solemnity while allowing cultural rootedness. The discussion, framed by Parker's aesthetic theory, suggests that the ensemble's practice demonstrates unity, thematic coherence and variation, balance between tradition and modernity, developmental continuity within the community context, and a clear hierarchy of musical functions. This study contributes to the discourse on Indonesian liturgical inculturation by offering an aesthetics-based analytical model and recommending further research using detailed musical transcription and longitudinal evaluation of participatory and spiritual impacts.Keywords: campursari; liturgical music; inculturation; DeWitt H. Parker aesthetics; case study.]]>
